Source: BOMB, No. 106, 10th Anniversary Americas Issue (Winter, 2009), pp. 42-43 Published by: New Art Publications Stable URL: http://www.jstor.org/stable/40428229 . Accessed: 29/03/2014 09:36 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. . New Art Publications is collaborating with JSTOR to digitize, preserve and extend access to BOMB. http://www.jstor.org This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:36:55 AM All use subject to JSTOR Terms and Conditions fiUJ^lHTfff J;4Jk^ Detail of Flowers I-X, 2003, one of ten framed receipts, each 14 * 10 Vi" All images courtesy of the artist and Murray Guy, New York. ELIZABETH *-i RYAN a*' *-i Floral Design a*' 41 1 East 9th Street New York, NY 1 0009 f. ^ A^AA 212-995-1111 ^ "/ -" . -i 4 RECIPIENT / / ' /? DATE *? ~~y (/ ; I . LJiJ?/L<C4<i^l L </ i ADDRESS J j^m__^ . f AY NY j^(/z. ' ~~~" APT. # PHONE # ^^^^^^^^^^^^^^^^ DESCRIPTION: ALEJANDRO, , m CESARO/ ^ La. ^ 7 ^
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BY NICOLS GUAGNINI DEL
SUBTOTAL TAX TOTAL Alejandro Cesareo works brazenly in a tradition, the aesthetic confines of classic conceptual art. In his work, text prevails over image - replacing it or transforming it. Free of the historical concern of visual originality, Cesarco's art commands a set of forms that could be aptly described as "the aesthet- ics of administration." The look is paradoxically a ubiquitous and an abandoned one (and yet symptom- atic of absorption into a canonical art-historical narrative). Cesareo uses the opacity of language to create narratives and cultural landscapes of melancholic preci- sion, often cued from high-modern literature. His work seems to have always been there, granted like an old friendship, yet it confronts us with a vague and foreboding feel- ing of loss. In short, it feels like a traumatized but romantically heal- ing experience of the last chapter of modernity. The tension between a built- in art-historical narrative and a personal and present one is elaborated in the cleverly titled Retrospective, a 2007 set of silk- screens on aluminum produced by Cesareo in collaboration with 42 BOMB This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:36:55 AM All use subject to JSTOR Terms and Conditions John Baldessari. Pictures of solid- color pages of a hypothetical book are interrupted only by small, numbered circles with correspond- ing captions. These deadpan rect- angular photographs are also, in turn, captioned. As the two sets of captions cross-reference each other, the hierarchy of textual author- ity in the piece is dismantled. The implicit tension between historical time (a photograph of a book, for example) and the caption's voice in the present tense makes the segmentation of history - generally an arbitrary and conventional matter - into a story for making the present intelligible. Cesareo and Baldessari's series asks: whose is the master narrative, and whom is it for? The question of circulation, which exists at the political core of conceptual art and of its atten- dant dictum of dematerialization, does not elude Cesarco's practice. His endeavors are not confined to walls. For example, Cesarco's very plain description of his 2003 piece Flowers speaks for itself: A bouquet of flowers was sent to a selected group of people. A performance for a public of one. A card with the following text accompanied the flowers: THIS SCULPTURE BY ALEJANDRO CESARCO WAS SPONSORED BY SOCRATES SCULPTURE PARK. Flowers were sent to: Vija Celmins, Elizabeth Peyton, Roni Horn, Yvonne Rainer, Lynne Tillman, Louise Lawler, Yoko Ono, Rachel Harrison, Andrea Fraser, Sherrie Levine. Sending flowers to women artists gently and somewhat ironically highlights another political and historical imperative: that of orga- nized feminism and its legacy, which Cesareo seems to point out is concurrent with that of concep- tual art. The list of recipients is devilishly specific in its balance of pioneerism and hype, of canoni- cal and eccentric figures. Cesarco's god (or declarative intent) is in the detail. Another circulation-based project of his is an ongoing series of small, conversation-based books, each of which pairs two artists - for example, Paul Chan with Martha Rosier, Silvia Kolbowski with Walid Raad, or Liam Gillick with Lawrence Weiner. The conver- sations that result from his edito- rial undertaking are simply equal; the interlocutors in the books are as often female as male. Similarly, the flowers he sent were addressed to "people," not to "women artists." Cesarco's decisions - visual, textual, and otherwise - do not correspond to a public discourse barked with passionate empha- sis. He never raises his voice or agitates. He doesn't need to. His quietness is crystal clear. - Nicols Guagnini is a New York-based artist and writer. He is a cofounder of Union Gaucha Productions, an artists1 experimental film company, and of the now defunct Orchard Gallery. His writing has appeared in CAA Reviews, Parkett, Texte Zur Kunst, October, and other magazines, as well as in vari- ous exhibition catalogues. He teaches drawing at Barnard College. Book covers from Between Artists, a series of books published by A.R.T. Press, New York. Alejandro Cesareo and John Baldessari, Retrospective 5, from Retrospective, 2007, a series of 12 silkscreen-on-aluminum prints, 48 * 36!' ARTISTS ON ARTISTS ALEJANDRO CESARCO 43 This content downloaded from 182.185.206.108 on Sat, 29 Mar 2014 09:36:55 AM All use subject to JSTOR Terms and Conditions